The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home.
Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
A little boy named Andy loves to be in his room, playing with his toys, especially his doll named "Woody". But, what do the toys do when Andy is not with them, they come to life. Woody believes that he has life (as a toy) good. However, he must worry about Andy's family moving, and what Woody does not know is about Andy's birthday party. Woody does not realize that Andy's mother gave him an action figure known as Buzz Lightyear, who does not believe that he is a toy, and quickly becomes Andy's new favorite toy. Woody, who is now consumed with jealousy, tries to get rid of Buzz. Then, both Woody and Buzz are now lost. They must find a way to get back to Andy before he moves without them, but they will have to pass through a ruthless toy killer, Sid Phillips. Written by
Rendered for an aspect ratio of 1.66:1, and it was supposed to be matted in theatres to 1.85:1 (the aspect ratio for which the team tried to compose). For reasons too complex to go into here, they aimed for 1.85:1 and missed, but only by a little. After careful consideration and consultation with director John Lasseter, they nudged the window open a tiny bit to 1.78:1. See more »
When Buzz and Woody are in the gas station, the close up shot of Woody shows the moon over his right shoulder as a crescent shaped like the letter "C", but backwards as if in a mirror. When the shot changes to Buzz, the moon's reflection in his helmet is also shaped like a backward facing "C" instead of a forwards facing one. See more »
[playing with and mimicking the voices of his toys; holding Mr. Potato Head]
All right, everyone! This... is a stick-up. Don't anybody move! Now empty that safe!
[empties Hamm the piggy bank and coins fall out]
Ooh, hoo hoo! Money, money, money!
[has Potato Head "kiss" the money; as Bo Peep]
Stop it! Stop it, you mean old potato!
[as Potato Head]
Quiet, Bo Peep! Or your sheep get run over!
[as the sheep, on a toy car track]
Help! Baaa! Help us!
[...] See more »
This is the first Pixar film to feature the "Production Babies" section, which lists babies born to the crew members during production. This would become a trademark in the following years, in films like A Bug's Life (1998), Toy Story 2 (1999), Monsters, Inc. (2001) and Finding Nemo (2003). See more »
You've Got a Friend in Me
Written and Produced by Randy Newman
Performed by Randy Newman and Lyle Lovett
Randy Newman appears courtesy of Reprise Records
Lyle Lovett appears courtesy of Curb Music Company and MCA Records See more »
Y'know, I always suspected that my toys were coming to life when I wasn't looking!
In Andy's Room, his toys lead lives of noisy desperation come every birthday and Christmas - no one wants to be one-upped by a new addition to the toy box. Nominally led by Cowboy Woody (there's a Brokeback joke in there just waiting to happen), Mr. Potato Head, Rex the Dinosaur, Ham the piggybank, Bo Peep, Slinky the dog and a smattering of other playthings go about their toy business of playing checkers, hanging with the hometoys and "plastic corrosion awareness meetings," until Andy's birthday party, when they gather expectantly around a transistor radio, listening to the reports of their toy soldier troops "in the field" (downstairs watching Andy's gift-opening), hoping that no gift will be exciting enough to cause Andy to neglect *them.* There is. His name is Buzz Lightyear, Space Ranger.
Directed by Pixar mainstay John Lasseter, with the voice talents of Tom Hanks (as Woody), Don Rickles, John Ratzenberger (forever Cliff from *Cheers*), R. Lee Ermey, Annie Potts, Jim Varney and Tim Allen (as Buzz), *Toy Story* is that *rara avis* that succeeds on all levels in its animation, storyline, character development, its messages of friendship and self-realization and, most importantly, its entertainment value. The fact that this is a cartoon (or animated feature just what DO we call this new wave of computer-generated movies?) is incidental. Which makes the slightly dodgy animation (of the "real people") irrelevant - it gets the point across with or without the technological finesse.
The "Disney Movie" has become synonymous with maudlin messages, redneck fundamentalism, anachronistic family values, boneheaded parents, smart-mouthing youngsters, too-hip-to-be-smart teens and insufferable pets. Though Disney's tyrannical umbrella overarches this film's production studio, Pixar Animation, *Toy Story* somehow avoided all trace of Disney's craven hand, which is doubly surprising, considering this is Pixar's first feature length film, after years of experimentation. Right outa the gate and right outa the field.
Sure, there are "messages," but they are heartfelt, rather than maudlin (Woody tells Buzz during Buzz's greatest depression that it matters not what Buzz thinks of himself, what makes him important is what his owner, Andy, thinks of him); there are emotional segments, which are truly heartbreaking, rather than cheesy (when Buzz's escape attempt lands him with a broken arm, proving he is Not A Flying Toy, the lyric, "Clearly I will go sailing no more," launches a thousand hankies); and the portrayal of Andy's family was Pixar's triumphal achievement. Boldly contravening Disney's *idée fixe* of the 1950's nuclear family and Norman Rockwell fantasies, one of the many incarnations of a modern-day family is presented: a single mother with two kids, who are neither geniuses nor monsters, just normal children; happy to visit Pizza Planet and disappointed when favorite toys are lost.
Buzz who believes he is a real life space ranger on a mission to save the universe - become Andy's favorite toy over Woody. The funny thing is: though Buzz believes he is real, he still adheres to toy protocol of "playing inert" when humans are in the area. (Maybe it's instinct?) When he mentions saving a toy from Sid, the vicious boy next door, how does he propose to do it if he is to adhere to the inert protocol? Buzz's ingenuousness regarding his role as a toy infuriates Woody to the point of attempted toy-assassination. Through a concatenation of accidents, both he and Buzz become lost and must use teamwork, trust and ingenuity to beat their path back to Andy, which finds them ensconced in scorchingly funny vignettes (Buzz fastening himself in an over-sized seatbelt; both falling in with green, three-eyed aliens; Buzz hyperventilating as "Mrs. Nesbitt"). During a climactic rocket ride, the callback line, "This is not flying - this is falling with style," simply seals this movie's greatness.
At least I now have a plausible explanation as to why my toys always got lost: after going about their toy business, they would just go inert anywhere they happened to be, instead of paying attention to their master's infallible toy filing system .
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